Upcoming: The Enemies Project - the Winter Programme

The Winter Programme: Oct 2015-Jan 2016

The Enemies Project Winter Programme 2015/2016 features seven remarkable events, with projects in partnership with the London Literature Festival and the Globe Road Festival, Enemies: Italy and Iceland, a one night celebration of European poetry (with poets visiting from 13 nations) and the first Camarade event in Norwich. It's another great series of collaborative and innovative events, pushing the potential of live literature and avant-garde poetry.

October Fri 9th: Global City at London Literature Festival
In partnership with Literature Across Frontiers & Southbank Centre.
Venue: Spirit Level - Blue Room at Royal Festival Hall. Price: £8 
Book tickets here: http://www.southbankcentre.co.uk/whatson/global-city-93314
An exploration of writing about London and it's culture from the perspective of the visitor, the immigrant, the outsider who is inside - London as a city of visitors, always moving, always both inside and out. Featuring discussions and new works of poetry and fiction from writers from across Europe and beyond, with Iain Sinclair, Jana Putrle Srdic, Livia Franchini and Karlis Verdins. http://www.theenemiesproject.com/globalcities


November Wed 4th: Pugilistica: a literary celebration of boxing
Apiary Studios, Hackney : 7.30pm : Free Entrance
Pugilistica will bring together poets, academics, writers, artists and photographers to celebrate the sport of boxing through talks, readings, discussion and screenings. Featuring fiction from Anna Whitwham, Poetry from Tim Atkins, Art History from Sarah Victoria Turner, Journalism from Oliver Goldstein and the event will see the relaunch of Fights, by SJ Fowler, published by Veer Books in a revised second edition. 
http://www.theenemiesproject.com/pugilistica


November Sat 7th: Nemici: an Italian Enemies project
Rich Mix Arts Centre : 7.30pm : Free Entrance
22 poets and artists, 11 Italian and 11 British-based, each present brand new collaborations in pairs, created specifically for this event. From video to performance, from poetry to prose, join us at the Rich Mix for this free evening of dynamic new collaborations celebrating the 21st century Neo-Avanguardia. Featuring Daniela Cascella. Alessandro Burbank, Christian Patracchini, Francesco Pedraglio, Andrea Inglese & many more. http://www.theenemiesproject.com/nemici


November Sunday 15th: Globe Road Festival walking tour
11am - 12.30 : Free to attend with Tickets here
A unique live walking tour performance experience, as part of the Globe Road Festival, the Enemies project presents a stroll down Globe Road itself, in the company of poets, sound artists and vanguardists. Stopping four times, at designated places on Globe Road, the artists will present a talk or performance completely original to the walk, in response to the history and culture of the road, with Elaine Mitchener, Gareth Evans, Adam & Jonathan Bohman. http://www.theenemiesproject.com/globeroad


November Fri 20th: The European Camarade
The Freeword Centre : 7pm : Free Entrance with Tickets here
A mini-festival of European poetry in collaboration, in the heart of London. Join nearly two dozen poets from across the continent presenting brand new collaborations in the literary and avant-garde traditions. British poets will write these works with visiting writers from Slovakia, Finland, Iceland, Lithuania, Austria, Hungary, Norway and more. Featuring Michal Habaj. Christodoulos Makris, Gabriele Labanauskaite, Cristine Brache, Christoph Szalay, Endre Ruset, Ville Hytonen, Kinga Toth. Katarina Kucbelova & many more. http://www.theenemiesproject.com/europeancamarade


December Thurs 10th: The Norwich Camarade
Norwich Writers Centre : 6.30pm : Free entrance
A special Camarade event, curated in collaboration with Writers' Centre Norwich and UEA Creative Writing department, featuring nearly two dozen poets celebrating the breadth and depth of the literary culture in Norwich. Featuring: Georges Szirtes, Tiffany Atkinson, Jeremy Noel-Tod, Emma Mackilligin, Rebecca Tamas, Philip Langeskov, Jonathan Morley & more http://www.theenemiesproject.com/norwichcamarade


January Sat 30th: Ovinir: an Icelandic Enemies project
Rich Mix Arts Centre : 7.30pm : Free entrance
Óvinir brings together two generations of Icelandic poets and writers to the UK to premiere brand new collaborations with British poets, in the second iteration of an Icelandic Enemies project. With Valgerður Þóroddsdóttir, Andri Snær Magnason, Ásta Fanney Sigurðardóttir, Eiríkur Örn Nörðdahl, Jack Underwood & more. http://www.theenemiesproject.com/iceland

Upcoming: a World without Words III at Somerset House - September 30th

A WORLD WITHOUT WORDS III
September 30th | 7pm-9pm
Somerset House
Screening Room
South Wing
Strand
WC2 R1LA

For A World Without Words 3, a short segment from multiple-award winning documentary My Beautiful Broken Brain will be followed by talks from a highly accomplished selection of speakers. 

The first speaker will be philosopher Jamie Brassett who will discuss the emergent properties of consciousness, elaborating on philosophical and physiological interactions.

Next up, computer scientist Conrad Wolfram will speak about computer human-machine interaction in the age of mass data, and the need for linguistic evolution to enable verbalization of technical ideas. 

Finally, biologist Rupert Sheldrake will close the evening’s talks with an exploration of his work on Morphic Resonance. He will speak about the dominance of scientific materialism, citing what he believes is the interconnected intelligence of all matter. 

The audience will have a chance to ask questions for 15 minutes following the final talk.

Drinks will be available from 9.00 until 9.30pm in the Drawing Room at Pennethorne.

Admission is free. Booking is essential. 

a World without Words explores the nature of human language, bringing together contemporary practitioners & pioneers in neuroscience and sensory aesthetics, to offer a fascinating and playful exploration of how words form our world. www.aworldwithoutwords.com The project is curated by writer & filmmaker Lotje Sodderland, artist & material engineer Thomas Duggan, and myself. 

a World without Words IV will take place in October and the program will come to end for now, for our fifth and final event in November 2015.

Upcoming: a language art - a course at Tate Modern

A Language Art: a course at Tate Modern

Avant-garde Poetry & Modern Art, in the galleries

Mondays, 26 October – 30 November 2015, 18.45–20.45,
session on Monday 9th November at Tate Britain
£150, concessions available

Book online using this link: http://www.tate.org.uk/whats-on/tate-modern/courses-and-workshops/language-art-avant-garde-poetry-and-modern-art

I'm delighted to be leading a course for Tate Modern this winter, where over six weeks, we will explore the intersections between the post-war traditions of modern art and avant-garde poetry.

Discovering poets and artists from the Tate collection who make use of language, sound, space, printing and writing, this course reveals how these practises are fundamental to both arts. A detailed course breakdown is available here: http://www.stevenjfowler.com/alanguageart/

Sessions are based within the galleries of Tate Modern in the presence of works by Gerhard Richter, Li Yuan-Chia and RB Kitaj amongst others, which bring to light some of the great moments in modern art and poetry that have enriched the traditions of both writing and art-making. Each week participants are also introduced to contemporary examples of work inspired by those held in the Tate Collection, as well as encouraged to create and share their own avant-garde poetry and text art in the extraordinary environment of the museum. One session is held at Tate Britain and includes the chance to explore Tate’s Prints and Drawings Rooms.

This course is for people interested in developing their own skills and understanding of experimental poetry and modern and contemporary art practises, and the onus of the course is on how these great moments in modern art and poetry can enrich writing and art-making practise, rather than dense historical analysis. It’s a rare chance to excavate avant- garde poetry in such a setting, and each week participants will have the chance to create new works in the extraordinary environment of the Tate Modern’s galleries.

A note on: Soundings #1 with Emma Bennett

The beginning of Soundings couldn't have gone better. Not only because the performance was unique and well attended and went to plan, but because it was also completely idiosyncratic and unexpected for the audience, and enjoyable. Emma and I have known each for a few year now, and been in collective work together, but never performed a duo. The performance itself and the entire preparation period could not have been easier and more fluid. We met up numerous times to make our performance not only responsive to the materials given by the Wellcome Library under the theme of 'Restless Cities' but also to make sure we responded very specifically to the amazing environmental of Camley Street Natural Park.

We knew people's experience of what we did would be defined by the surroundings, and decided in fact to put on a walking tour, one that fused elements of performance and immersive theatre all rooted in something like a slightly alternative version of the contemporary 'landscape' 'cityscape' 'mindfulness' lexicon. Our performance was a mix of improvisation, preparation for this and written text that lay somewhere between poetry and satire.

In the end we had a remarkable audience, those very generously helping us, Harriet Martin, James Wilkes, Kim Staines, bringing together lots of people so that it felt quite a significant event, marching 50 or so people around the small stone clearings and ponds of the park. A strange experience for them, I hope, a great experience for us.

A note on: Performing with Prudence Chamberlain at CapLet #1

Thanks to Jonathan Mann, and the first ever edition of his new Capital Letters reading series, I had the chance to read new collaborations with Prudence Chamberlain, in the rather auspicious surroundings of St.Margaret's Chapel, outside of the Gallery Cafe, in Bethnal Green. I'm sure just the first time Prudence and I will collaborate in a live setting as well as the page

A note on: The Enemies project: Croatia - Zagreb, Grožnjan & the Wood Poets

The purpose of the Enemies project is to not only create the collaborations and the readings which accompany them across countries and generations and so on, but to also always acknowledge the context of how these things actually happen. That is they are created by people, and they really only work when generously founded. And this generosity tends to come from, or lead to, friendships. This is why I continue to do the Enemies project at such a pace, because, fundamentally, it is a way for me to know people from around the world, far beyond my own country, and for those people to become friends. This project in Croatia was so resonant because it was so personable, the character of the travel and the readings resembled the character of those Croatian poets who are so generous and open and enthusiastic – Tomica Bajsic, Damir Sodan and Maja Klaric. The Enemies project Croatia began, in friendship, in 2012, and since we have exchanged events and ideas, culminating in readings in London in July 2014, followed by this mini-tour of Croatia in August 2014. I was joined by Sandeep Parmar and James Byrne in Croatia, greater friends for it, and together, we were completely indebted to the Croats for an extraordinary week in Zagreb and Istria..

Day One: An eye bleed flight into Zagreb to discover a heatwave in the normally hot Croatian August, passing 35 degrees. Some time to explore the city again. A brutal run in the heat to Maksimovic park. Damir arrived and we all met together for the first time, James, Sandeep, Tomica, Damir and I, and we visited a gallery in Zagreb, run by an artist collective, in order to begin a discussion about collaborating with three young Croatian artists towards the publication of an innovative book that might lie somewhere between abstract art and poetry. Certainly a way for the collaborations between this brilliant generation of Croatian poets and those of us based in the UK to continue on in years to come. An evening in Zagreb, as ever, warm spirited and funny, the hospitality of Tomica, his family, Damir and the Croatian poets that keeps me coming back to this city.

Day Two: A massive bus ride, Zagreb to Rijeka on the coast with a quick stop over, and then on windier roads to Buje. 36 degrees outside. The time flew by when we were all in conversation. Then a minibus to Groznjan itself. An incredible place, mesmerising. High atop the seemingly endless forests of Istria. A walled town, tiny really, but a 1000 years old, and recently famous for its music, classical piano and drums can be heard from upstairs windows as you walk the cobbled sloping streets, yet it's quiet even in August, in the peak tourist month, as its hard to find, or reach, it seems. We have a few hours to relax and then again we are travelling, to the excuse we have to come here, to the Wood Poets reading, organised by Maja Klaric and her partner, the Forest Festival of Groznjan. We park up and follow candles through a small wood into a clearing where perhaps a hundred people congregate around a bonfire, with small torches littered around the landscape. It is lovingly put together, and immediately friendly. We meet poets from Hungary and Italy, and lots of local writers. There is music from Italy, percussion on something that looks like a barbecue. Readings follow that. I read some poems from my book {Enthusiasm}, maybe a bit harsh for the hippy vibe, but people are nice about them. James, Sandeep, Damir, Tomica read beautifully, the bonfire gets primed after each reading so it shoots up a flame when you’re done. After an hour goes by and no one else will read in English I retreat to the edge of the gathering, lie down in a field and listen to Italian and Croatian voices way past midnight, seeing the stars clearly in the sky for the first time in a year at least. The music follows, we don’t get back to Groznjan until 2am or so.

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Day Three: Morning in Groznjan, people are remarkably friendly, I go into a restaurant below where Im staying and they give me free coffee and food just because we talked while I ate, waving me away. There’s a reading in the centre of the town, all of the performers from the Wood poets the night before coming to join us underneath the Fonticus Gallery. There’s more music, some slightly strange audience participation, which I escape, and then a chance to read again and listen further. Great to hear Marco Fazzini read, he seems to have had and extraordinary life in writing. At the start of the poetry Tomica, Damir, Maja, James, Sandeep and I read our six way poem. Each of us provided a single line, then added a line to each other’s, making six poems written by six poets. Each of us then read one single six line poem. 

Dinner on the town, long afternoon conversation with James, Sandeep, Marco and the vast table of local poets and friends. Late afternoon I disappear into the hills outside the town for a few hours, first walking and exploring, then with a route, a chance to do some hill running. It’s not so hot so not so arduous as in Zagreb, but the chance to have the heightened experience of exercising surrounded by the immense panorama of these hills, olive trees lining them, a view unto the horizon, is exhilarating. We spend a long evening with pizza talking, to each other and the poets we've been lucky enough to meet in Istria. We return the next day, a bus ride down out of the hills, back to Zagreb and then London. An amazing, all too brief window into a truly beautiful place all excused by the chance of us all happening to write poetry, and more decisively, being open and enthusiastic to the friendships that can arise in that shared practise.

More on www.stevenjfowler.com/croatia

A note on: Teaching Greco-Roman Wrestling for the Midnight run with the Almeida Theatre

Lovely to be a part of the Midnight run thanks to Kit Caless, teaching a session on Greco-Roman wrestling on the curated 12 hour walk through London, with lots of interesting activities featured in. Inua Ellams founded the project, and the whole thing was really well measured and a grandly positive experience. These beautiful pictures are courtesy of Katie Garrett.

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Upcoming: Soundings - a project with Hubbub & Wellcome Library

Soundings is a series of collaborative performances I will be presenting from August 2015 to October 2016, in conjunction with Hubbub and the Wellcome Library. There will be ten editions, each in a different location in and around London, each with a different collaborator.www.stevenjfowler.com/soundings

Soundings

Each edition of Soundings will begin with Wellcome library staff raiding the library's extensive collection to suggest items, including images, manuscripts and books, in response to a title inspired by the Hubbub's research strands and initiated by Hubbub curators. These prompts will form the basis for the public performances of sound poetry, sonic art or conceptual performance, devised each time by myself and my collaborator. Collaborators include Emma Bennett, Dylan Nyoukis, Maja Jantar, Patrick Coyle, Sharon Gal, Tamarin Norwood and James Wilkes, with more to be announced.

Hubbub are the first residents of The Hub at Wellcome Collection, an international team of scientists, humanists, artists, clinicians, public health experts, broadcasters and public engagement professionals. We explore the dynamics of rest, noise, tumult, activity and work, as they operate in mental health, neuroscience, the arts and the everyday. I'm fortunate to be part of this extraordinary enterprise, as a poet and artist in residence, and you can read more about my work with Hubbub here: www.stevenjfowler.com/hubbubor www.hubbubgroup.org 

Soundings #1: August 18th
at Camley Street Natural Park
with Emma Bennett
Time: 1pm – 2pm (12 Camley Street, London N1C 4PW). Free entrance.
www.hubbubgroup.org/soundings

Soundings #2: September 4th 
at Wellcome Collection Late
with Dylan Nyoukis
Time: 19.40 and 21.30 (183 Euston Road, London NW1 2BE). Free Entrance 
www.wellcomecollection.org/events/friday-late-spectacular-hubbub

Soundings #3: November 18th
at St Johns on Bethnal Green
with Maja Jantar
Time: 8pm to 9pm (200 Cambridge Heath Road. London E2 9PA). Free Entrance.
www.stjohnonbethnalgreen.org

Published: Elit blog #2 - European poetry as representation of the modern nation

http://www.literaturhauseuropa.eu/?p=4078 "Every nation’s literature contains within it multiplicities. Not only are definitions of these traditions based on approximations, that which has been recorded, assigned, that which has had the fortune of being discovered, but the very concepts around what actually makes a poem or a novel is ever changing. In fact the very intransigence, and ever changing, nature of each language we utilise in Europe makes declarations and definitions fraught. That being said, I have come to realise, reading, writing and programming in many European nations over the last number of years, that certain social and political realities, certain modern histories, have an indelible effect on what kind of poetry a nation produces now, and what kind of literature a nation reads.

Recently I curated a project called Feinde, an Austrian themed Enemies project, which is all about collaboration and exchange between nations. In this case, supported by the immensely open minded and generous Austrian Cultural Forum in London, four contemporary Austrian poets came to London and collaborated, and performed, with British counterparts. In all we put on four major events in a week, heading up to European Literature Night in Edinburgh, via UNESCO City of Literature, to close out the programme.

A first difference, and a vital one. The Austrians poets, Ann Cotten, Jörg Piringer, Max Höfler and Esther Strauss, were all guests of the Austrian Cultural Forum, which isn’t just an organisation in name, but inhabits an incredible space, a building they have run for over fifty years in London. The value of this, in having a home, a locus for the project, in encouraging collaboration, and raising awareness of the iconoclastic post-war Austrian tradition of poetry is incalculable. I intend no vast conclusions here, but I know of few equivalents in London, and I know I have yet to stay in a British house in any other city outside the UK.

More importantly, and forgive my compression here, but the outstanding innovation, elasticity of methodology and range of practise the Austrian poets evidenced, while still being major figures in their nation, suggests a rather different tradition than here in the UK. It exists here, but it is not conducive to repute in the world of poetry. Why is this? Reasons are legion, but it is hard to look past what the two nations needed to face up to after 1945. Where contrarianism and a deep suspicion of language itself seemed necessary to a country who had think through its culpability, so tradition, fixedness and conservative methodology seemed apt to those who saw themselves wholly victorious or proper.

Still, now, 70 years on, my generation of poets, those encouraging consistent dialogue and collaboration across our continent, to build communities of writers and long lasting friendships in the creative act, must be aware and mindful of history, if they are not to repeat it, or be curtailed by it."

Published: How I Did It - ‘The Interrupters’ my article for The Poetry School

http://campus.poetryschool.com/how-i-did-it-the-interrupters/ An intriguing series from the Poetry School, hosted on their Campus platform, where they ask poets to discuss the process of writing a specific poem of theirs. Some previous editions were really interesting, but more often than not made me realise how different my process can be from the norm. So this article, where I discuss my poem The Interrupters from my recent collection {Enthusiasm} published by Test Centre, is an attempt to honour the article's remit but still maintain a true reflection of my actual methodology.

"I suppose each collection I have published has been an attempt to relate a style, or form, or concept, to a subject. Not the other way round. No collecting has been done after the fact, the fact has been established and then the collecting. My process is one toward a changing ideal. I don’t denigrate those who are consistent, or whose evolution is subtle, but I personally find the notion of radical growth, or variance, to be something I aspire to. It comforts me that my work is different book to book, that I produce things that bear not a singular stamp of my authorial ‘voice’, for I find that idea unrepresentative of my experience of being. It is not a metaphor to say we contain a multiplicity. I am a different person depending on my mood, my company, my job… As such I am a different poet, I have a different voice when writing about boxing than I do when writing about prisons, or when I’m using collage technique as opposed to visual poetry. And most especially when I’m writing mostly at night, as opposed to the morning, or when I’m reading mostly one poet as opposed to another."

Published: Poems translated into Romanian on Poesis International

Thanks to the brilliant poet / editor Claudiu Komartin and the translator, Ramona Hărșan, a series of my poems, from my collection the Rottweiler's Guide to the Dog Owner have been translated into Romanian and published on the highly regarded Poesis International journal online. They appeared in print earlier in the year but now everyone can have a look.

http://poesisinternational.com/poeme-de-s-j-fowler/

A note on: Performing at the Whitechapel Gallery for the New Concrete Launch

A really ambitious program curated by Chris McCabe and Victoria Bean, editors of the anthology the New Concrete, for the launch of the book at the Whitechapel Gallery on July 25th. Over three hours of kinetic poems and performances - screenings, readings and more. It was a really generous, communal atmosphere, good to see old friends and meet quite a few poets I have long admired but had yet to encounter in person.

I really wanted to follow my more conceptual performances at Tate Modern and Cafe Oto recently with something similarly performative and distinct, and thoughts of how one might perform a concrete poem led my to Lego. I had only the specifics of the ideas on the morning of the performance, so after rushing to a Lego shop and dropping more money than Id thought Id need to on the bricks, I had only one chance to practise making the letters, in a coffee shop next to the gallery itself. In the end, it went nicely, I managed to stay within the 4 minute limit.

my poem in the New Concrete anthology

The most beautiful anthology I've been a part of, my poem is rendered wonderfully in this major achievement, summing up the best of 21st century concrete poetry. You can buy the book here http://shop.southbankcentre.co.uk/the-new-concrete-visual-poetry-in-the-21st-century.html & it'll be launched here http://www.whitechapelgallery.org/events/new-concrete/

Talking Performance at Tate Modern

www.stevenjfowler.com/talkingperformance 

A wonderful experience to be able to showcase a performance at Tate Modern, to be commissioned by them to explore the theme of public speaking, digression and derivation. Held in the East Room, on level 6 of Tate Modern, overlooking the Thames, it was a chance to present an original, extended piece of performance which explored speech, biography, truthfulness, sound and rhythm. 

Speaking rather relentlessly for half an hour, and swarming a supposed poetry reading with improvised speech, I attempted to explore the notion of biography, of audience and performer hierarchy, and the human relationships possible between them, the nature of poetry readings, their bracketing of attention and the limits of that, the nature of the introduction as a form, the experience of language in excess and speed, the notion of collectivity in performance and in intimate physical proximity, the 'poetic' and what people understand by poetic and therefore non-discursive language, and finally truthfulness, salesmanship, the rhythm of comedy, and, I suppose, at the very end, disappointment. 

The performance was followed by an extended discussion with curator Marianne Mulvey and Patrick Coyle, with whom I had the privilege of sharing the bill. Contextualising the choices I had made performatively so soon after performing was fascinating, when my piece had been about blurring the lines between genuine feeling and sentiment, verity and falsehood, I couldn't help but feel what was essentially a meta performance then became a meta discussion, where no one could really believe what I was saying. This perhaps solidified the purpose of what I was trying to do, constantly acknowledging context and the limits of communication. 

The piece was a product of a generous developmental process, and to have Joseph Kendra help me from the off, then to be joined by Marianne Mulvey as the performance neared, was really pivotal - to have the attention of professional curatorial expertise, it is akin to having a good editor for a manuscript. And to share the event with Patrick Coyle, a close friend and someone I've admired and collaborated with for a such a long time, made the experience all the more resonant. 

Reading {Enthusiasm} in front of Matt's Gallery, on a ladder

A six by eight foot billboard hung outside X Marks the Bokship at Matt's Gallery, Mile End, London. The image, the cover of SJ Fowler's 2015 poetry collection {Enthusiasm} published by Test Centre. http://testcentre.org.uk/product/enth...

The video, shot by Jess Chandler, features Fowler reading in front of the billboard, on a ladder. The recording, made in the The Cast of the Crystal Set recording space, curated by Eleanor Vonne Brown, features an assortment of poems from the eponymous collection.http://bokship.org/xaudio.html